Text-book of simple and double counterpoint including imitation or canon . w iil -^-•- £E § 9. FLORID COUNTERPOINT. If we now strip off the burdensome fetter of a monotonousand perfunctory development of a fixed rhj-thmical form andgive the greatest possible freedom of rhythmical development tothe counterpoint, which may now be written in notes of equalvalue or partly in notes of longer or shorter value, while alsointroducing the most manifold forms of rhythm, rests beingscattered here and there, such a counterpoint grants an inex-haustible fullness of tonal effect to the cantus firmus. Some o
Text-book of simple and double counterpoint including imitation or canon . w iil -^-•- £E § 9. FLORID COUNTERPOINT. If we now strip off the burdensome fetter of a monotonousand perfunctory development of a fixed rhj-thmical form andgive the greatest possible freedom of rhythmical development tothe counterpoint, which may now be written in notes of equalvalue or partly in notes of longer or shorter value, while alsointroducing the most manifold forms of rhythm, rests beingscattered here and there, such a counterpoint grants an inex-haustible fullness of tonal effect to the cantus firmus. Some ofthe counterpoints written note-against-note (No. 25) againstthe counterpoint to our first cantus firmus (A) may give anidea of this: § 9. FLORID COUNTERPOINT. 49 Problem 25: Two-part writing. A florid counterpoint inantithesis to a cantus firmus in equal note values. a) Allegro b) Adagio. i C. f. I P^- 9-V J rs r*i T I FFi= -# J 7 f T * i ?^ dim. m$ EE :6 ;te !^ J r is-r^»°»- -J-4- •ea--;^ ^ & 5# 1—:i-—*- :#b#- -l-^r-l-t sf dim. tt^ ;^r|y-fg 1 RiEMANN, Counterpoint. 50 I. SIMPLE COUNTERPOINT. S r=3= A. c) Vivace. Cpt. 86. C. f. 6^i=£m^-g3g^;tTgj^3^^g JsS :i=2t 7^^~ ^ |fi -m—0. ?H-#- -#—I 1 y-* ^^i^^^^^ -fs s>- i —1- A. d) Scherzando. {C. f. &-^^ 112=4 -•^—^-^ =3=3= =i=^= -^—^ jh|§^
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